studio Claus Wiersma

With associative films rich in imagery, such as Andrei Rublev (1966), Solaris (1972), The Mirror (1974) and especially Stalker (1979), Andrei Tarkovsky (1932‒1986) made his name as a leading innovator of the language of cinema.  Eye presents an exhibition devoted to the celebrated filmmaker and mystic, focusing specifically on Tarkovsky’s quest for existential truth. In addition to immersing the visitor in Tarkovsky’s imagery, the exhibition includes unique documents — letters, photos and Polaroids — that have never previously been displayed in the Netherlands.

Throughout summer 2019, Lafayette Anticipations invites the Dutch designer Hella Jongerius. She uses the building’s performative qualities to transform the interior space into a vast, constantly shifting loom; a giant textile studio, open to the public.
Interlace exposes the viewing public to the textile production process in order to create awareness, re-valuation and appreciation for textiles. It shows what consumers don’t usually see: the research and experimentation, the tools and materials, the trial and error that are as important as the result itself.
Throughout the three months of the exhibition, the public will be able to see new textile pieces being woven in the gallery space.

This exhibition showed the ten ‘Drawings for Projection’, that South African artist William Kentridge donated to the Eye Filmmuseum in 2015. These ten short animation films, that were made in between 1989 and 2011, marked Kentridge’s breakthrough on the international art scene. Also included in the exhibition was the film installation O Sentimental Machine (2015), featuring historical footage of Russian revolutionist Leon Trotsky. The exhibition took place during the Holland Festival, for which William Kentridge was Associate Artist.The exhibition also featured a number of large wall tapestries that Kentridge produced at a local weaving mill in Johannesburg.

Dutch product designer Hella Jongerius and design theorist Louise Schouwenberg have been invited to develop a site-specific installation for the Paternoster Hall at Pinakothek der Moderne.

Hella Jongerius has made a name for herself with her very specific way of combining craftsmanship and industrial manufacturing. Her furniture, textile and ceramic designs are meant as a symbiosis of high and low-tech, of past and present, of traditional and innovative materials.
In her research, Louise Schouwenberg, head of the department of contextual design at the renowned Design Academy in Eindhoven, mainly focuses on the interface between art and design.

Together with Louise Schouwenberg in 2015 Hella Jongerius authored the “Beyond the New. A Search for Ideals in Design” manifesto. It opposes an industry that believes the sole goals of production are the idea of the “new” and commercial success. They contrast this to the conviction that industry first taps the potential of current manufacturing opportunities when it tackles new challenges that address high quality, sustainable products and also foster design that can be free and experimental.

EYE presents a major exhibition devoted to Italian director Michelangelo Antonioni. With his famous trilogy The Adventure, The Night and Eclipse, Antonioni became one of the most innovative directors of the 20th century.
A stylistic perfectionist, he renewed the grammar of film by thinking less in terms of narrative and more in terms of image. Film excerpts projected onto thirteen big exhibition screens show the overpowering visual force of his images. The exhibition also features unique documents, photographs and letters from the Antonioni archive in Ferrara, birthplace of the director.

“Al sinds zijn opening slaagt Eye erin exposities die in een duffe verzameling vitrines met brieven en affiches dreigen te ontaarden, tot cinematografische avonturen te maken. Ook nu is dat gelukt….”

Raymond van de Boogaard in NRC

“..superieure tentoonstelling…”

Jan Pieter Ekker in Het Parool

“..een ideale tentoonstelling…”

Joyce Roodnat in NRC

Fellini – The Exhibition, arranged as a visual laboratory, reveals the sources of Fellini’s fertile imagination and shows how Fellini created a mythical image of himself and of Italian life both in his films and in the world at large. Moreover, the exhibition sheds light on the way in which he was able to break with the accepted linear narrative structure in his films, and how he addressed existential questions in a playful manner.
The exhibition includes fragments from the films, drawings made by Fellini, Fellini’s advertising films and the countless images from his dreams that inspired him. Furthermore, the exhibition brings together never previously-shown pictures by photographers such as Gideon Bachmann, Deborah Beer and Paul Ronald. Their behind-the-scenes photos illuminate the fantasy world of Cinecittà, the studio where Fellini shot virtually all his later films. An international selection of posters, several of which hail from the EYE collection, showed how Fellini himself tried to influence the public reception of his films over the years. Also on display are an array of magazines from the period 1960-1985 (Domenica and L’Espresso), which played an important role in forming the public image of the director, his films and the actors.

‘Fellini – The Exhibition is geen expositie die van de daken schreeuwt hoe geweldig Fellini was. En die des te meer effect sorteert wanneer je de tijd neemt om alle dwarsverbanden op je in te laten werken. Het van nissen en doorkijkjes vergeven zaalontwerp van Claus Wiersma steekt wat dat betreft precies goed in elkaar: drukke opstellingen maken net op tijd plaats voor grotere ruimtes waar je even op adem kunt komen. Ook geen gedoe met decorstukken… Een facsimile van Fellini’s dromenboek is dan nog het meest opvallende rekwisiet in deze puntgave expositie, die de beelden wonderwel voor zich laat spreken.’

De Volkskrant

‘Shortlisted’, but unfortunately not selected proposal for the Dutch pavillion at the 2013 Venice Art Biennale. The proposal featured the most recent work of artist Guido van der Werve, shown in the context of projects by dutch artists working with the same concepts.

Parapoetics is the first significant solo exhibition of the Rotterdam-based artist Katarina Zdjelar. TENT presents recent video works by Katarina Zdjelar, in which she uses the singing, pronunciation, alteration or forgetting of language to examine notions of identity, authority and community. In January, a series of events takes place around the themes in her work, with speakers including performer/writer Caroline Bergvall, sociologist Willem Schinkel and philosopher Mladen Dolar.